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Applying color to the shark using BodyPaint

From: CINEMA 4D: Designing a Promo

Video: Applying color to the shark using BodyPaint

With our shark UV layout complete, now we can move onto the process of painting textures on the surface of the shark. I am going to switch my layout to a BP 3D Paint. And in the 3D Paint Layout, that gives us a little more room to work and also tucks the Texture panel right behind the View panel so we can have a little more room to see our shark. Our shark has a camouflage pattern on it that's evolved over millions of years and it is a white underbelly with a gray top and that makes it easy for the shark to be hidden from view.

Applying color to the shark using BodyPaint

With our shark UV layout complete, now we can move onto the process of painting textures on the surface of the shark. I am going to switch my layout to a BP 3D Paint. And in the 3D Paint Layout, that gives us a little more room to work and also tucks the Texture panel right behind the View panel so we can have a little more room to see our shark. Our shark has a camouflage pattern on it that's evolved over millions of years and it is a white underbelly with a gray top and that makes it easy for the shark to be hidden from view.

when a fish looks up, they see a white underbelly which matches the light color of the water. When a fish looks down on it, they see a dark grey top that makes the shark blend into the water below it. So we want to be faithful to that layout. So we are going to be painting in the Color channel right now just white on the underbelly. We will leave the top of the shark essentially just flat grey. Then we'll move on to the Diffusion and Bump channels to give our shark skin some personality and some wear and tear like all sharks have. So let's start off with the Color channel. I am going to be activating 3D Paint mode and then clicking on the Brush tool to enable it and bring the attributes forward.

I don't want to really paint a very soft airbrush pattern. I'd like to have something that feels a little more natural, and I'm going to select a brush preset. I click on the Brushes palette, and go down to the BodyPaint presets and go to Brushes, and then scroll down to Long Weekend. In Long Weekend, there is a Brushes folder and I will select Brush 5 inch Big. Brush 5 inch Big has a square edge to it and you can see the shape of the brush there. But it has a very nice sort of rough edged texture, and you can see that here in the attributes for the brush itself.

Some brushes are designed to paint in multiple channels and you want to be very careful about which channel you're painting in. So I am going to deactivate the Bump channel by clicking on the little pencil mark and the white line around the box shows me which channel I am currently looking at. The pencil shows me that I'm actually painting in that channel. So by making that pencil gray, that deactivates the painting options for that channel. So now I am going to activate the Color channel by clicking on its pencil and making the pencil active. With the Color channel active now and the other channels deactivated, I can move on to painting the shark, and now BodyPaint has a really amazing feature called Projection Painting.

That enables us to paint on the shark in the Perspective view and apply the angle of view that we are painting in directly to the shark. On an object that is very complex surface like a shark, even though it's smooth, the UV layout on it is very complex and so it enables us to get around the fact that our UV layout has a lot of boundaries and chunks in it. So it's going to make our shark look smooth no matter what angle we are painting on it from. So I am going to enable Projection Painting by clicking on the Projection Painting icon right here, and then I am going to orbit around.

Now, when you are projection painting, you have to be very careful about undos, because the Projection Painting layer is stored in memory and when you activate Projection Painting, anytime you undo it's going to undo all your brushstrokes at once. So I want to be very careful about the brush strokes that I do. If I do multiple brushstrokes here, and then I orbit my view, and then I undo, Command+Z or Ctrl+Z on the PC, it's going to undo all the strokes that I did. So I have to be very careful about how I paint. Another technique that's very important is I want to use layers.

I am going to go to my Layers menu and I'm going to disable Projection Painting, and I'm here in the Color channel and I know I am in the Color channel because I have the Color channel active here in the Channels palette. So in the Layers, I am going to make a new layer by going to Function > New Layer, and I am going to paint. This is just like painting in Photoshop. So I am going to call this one white, and with this layer active now I am gong to re-enable Projection Painting. So now when I enable Projection Painting, you can see that layer goes away and now I will be painting in the Projection layer. But all my paint brushstrokes are going to go into that layer that I had active before I enabled Projection Painting.

So let's orbit around to a nice, straight on underside view of our shark and then just start painting down. This is a very sort of artistic process, and one of the beautiful things about the shark, which makes it really easy for us as artists, is that the colors on the surface of the shark are not flat. They're very uneven and naturally occurring, and so that makes it really simple for us to paint. We don't have to be really precise about it. All we need to do is make sure that we get it all in the right areas.

Now, when you get really close to an edge, you have to be extremely careful. If I paint right up to the edge, Projection Painting will smear our shark texture. So I just painted accidentally over the edge there. As soon as I orbit around, the Projection Painting layer is committed to the Paint layer. So I orbit around. If I were to undo that brushstroke, it would undo all the strokes that I did. So I want to be careful with that. Instead of undoing, I am going to erase that stroke using the Eraser. So I am going to select the Eraser and make sure that under the Brushes options for the Erasers under the Standard tools, I've got the Chalk one selected.

The Eraser tool does not work in Projection Painting. So you need to disable Projection Painting, and then erase the edges of that mistake, and this chalk will help it blend into the sides a little bit better, and help me get rid of all of those little nasty bits that I mistakenly painted. So that's essentially all the techniques we are going to use. I'm going to skip ahead to a finished version of the Color channel and do all of the grunt work of painting the white all around our shark in the background. So here we are with our finished Color channel for the painting, and you can see I've actually done quite a bit of work while I was away, and it's all really straightforward stuff.

just painting white where there needed to be white, and then I added some extra layers to my material. Let's disable Projection Painting, so I can see that I actually have a black layer, and a red layer. There is a little bit of red inside the mouth here. That's going to be where the gums go, and I painted black inside. You can see I just opened his mouth up using the Morph tag slider which makes it really easy to paint those textures in there. It was all the same techniques that I showed you earlier on, just being very careful about the angles that I was painting from, and using the Eraser tool to clean up any smears and just generally painting the shark.

So don't forget that while you're working it's very important to save your work. The BodyPaint when it saves the textures will automatically ask you if you'd like to save the texture changes along with it. So always make sure to save your texture changes along with the project file as you're working. The Color channel is done. Now, we can move on to the Diffusion and Bump channels.

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This video is part of

Image for CINEMA 4D: Designing a Promo
CINEMA 4D: Designing a Promo

70 video lessons · 13493 viewers

Rob Garrott
Author

 
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  1. 5m 8s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 24s
    3. Overview of the project template
      2m 37s
  2. 11m 12s
    1. Creative brief
      1m 57s
    2. Sketches and script
      3m 8s
    3. Understanding the graphic animation process
      6m 7s
  3. 25m 5s
    1. Understanding the animatic process
      2m 15s
    2. Importing sketches into After Effects
      6m 20s
    3. Timing out the animation
      10m 4s
    4. Adding onscreen timecode for reference
      6m 26s
  4. 40m 2s
    1. Creating text and logo elements in Adobe Illustrator
      6m 44s
    2. Importing Illustrator elements into Cinema 4D
      8m 24s
    3. Creating guide planes for modeling a rough shark
      6m 13s
    4. Creating a rough shark model
      12m 14s
    5. Preparing a dummy rig using a Spline Wrap object
      6m 27s
  5. 53m 17s
    1. Setting up a project file for the cameramatic
      6m 15s
    2. Animating the rough shark using the Spline Wrap object
      5m 14s
    3. Animating the camera
      6m 8s
    4. Duplicating an animated rough model to create a school of sharks
      11m 4s
    5. Creating a preview movie and importing it into After Effects
      5m 45s
    6. Assembling the cameramatic
      8m 34s
    7. Fine-tuning the cameramatic timing
      10m 17s
  6. 1h 9m
    1. Preparing for the modeling process
      6m 7s
    2. Outlining the shapes using the Knife tool
      9m 50s
    3. Creating the mouth using the Extrude tool
      10m 40s
    4. Adding eyes using the Symmetry object
      9m 57s
    5. Creating fins using the Extrude tool
      7m 11s
    6. Creating the tail and dorsal fins using the Extrude tool
      10m 38s
    7. Creating gums using the Symmetry object
      6m 45s
    8. Creating teeth and finalizing the model
      8m 6s
  7. 15m 5s
    1. Understanding the rigging process
      2m 0s
    2. Opening the shark mouth using the Morph tag
      5m 9s
    3. Using XPresso to link the jaw to the Morph animation
      7m 56s
  8. 33m 25s
    1. Using BodyPaint to prepare the model for texturing
      8m 22s
    2. Applying color to the shark using BodyPaint
      6m 45s
    3. Giving the shark character by painting in the diffusion channel
      5m 29s
    4. Roughing the surface using the bump channel
      4m 34s
    5. Texturing the eyes
      3m 51s
    6. Texturing the teeth and gums
      4m 24s
  9. 21m 24s
    1. Replacing the rough shark model in the intro shot with the finished model
      6m 47s
    2. Replacing the rough shark model in the transition shot
      3m 43s
    3. Replacing the rough shark model in the hero shot
      4m 28s
    4. Replacing the rough shark model in the end page shot
      3m 42s
    5. Updating the cameramatic with the final animation
      2m 44s
  10. 50m 27s
    1. Creating an underwater look using Global Illumination and atmosphere
      9m 47s
    2. Lighting the objects and creating shadows
      6m 54s
    3. Shading the text using materials
      6m 28s
    4. Creating a reflective floor for the underwater scene
      3m 58s
    5. Lighting shot 1: Copying and pasting a lighting setup from another project
      5m 49s
    6. Lighting shot 2: Pasting a lighting setup and making adjustments
      3m 57s
    7. Lighting shot 4: Separate elements in a shot (the shark)
      3m 13s
    8. Lighting shot 4: Separate elements in a shot (the text)
      10m 21s
  11. 22m 7s
    1. Preparing shot 1 for rendering to After Effects
      6m 20s
    2. Preparing shot 2 for rendering by saving and using render presets
      4m 45s
    3. Preparing shot 3 for rendering
      2m 37s
    4. Setting up shot 4 to render in two passes
      4m 4s
    5. Performing a preflight check to ensure clips are ready to render
      2m 9s
    6. Batch-rendering
      2m 12s
  12. 1h 13m
    1. Importing assets and setting up the After Effects project for final compositing
      6m 5s
    2. The intro shot: Using Photoshop elements and noise effects to add atmosphere
      8m 38s
    3. The intro shot: Compositing in stock video footage to add character
      4m 51s
    4. The intro shot: Adding text elements to the composite
      8m 32s
    5. The hero shot: Controlling the look using precomps
      7m 59s
    6. The hero shot: Using stock video footage to add character
      7m 19s
    7. The end page shot: Combining multiple passes to form a final composite shot
      2m 41s
    8. The end page shot: Adding text elements to the composite
      7m 44s
    9. Compositing the transition shots
      3m 47s
    10. Assembling the final composition
      9m 2s
    11. Adding the final audio to the composition and rendering
      7m 10s
  13. 21s
    1. Goodbye
      21s

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